[Go Igo Baduk Weiqi] [Eng] Modern Fuseki and Joseki Volume 1 by Sakata Eio

Dia. 60: Same If White plays tsugi with 1, then Black will play hanetsugi with 2 and 4. The choice of these points will have a bearing on the future battles. Dia. 61: Efficient The reason why Black 9 is so important in Dia. 58 is because if Black simply plays osae at \" White will play the tobi of 1. Now if Black plays at `a' White can play at `b'. Now Black must live with 2 and 4, and since White 1 is such an effi- cient point, White will have the advantage in the center fighting. Dia. 62: Impossible Against White 1, it's impossible for Black to play 2. If he does play here, White will play hanetsugi at 3 and 5 and the five Black stones will be captured. If Black continues to attack with the kiri of 6, White can cross cut with 7 and he can live gracefully and this will result in Black's complete loss. Dia. 63: Niken biraki White can also play niken biraki at l, but now against the tsuke of 2 he can't play degiri as before. Therefore, he must play 3 and 5 and the result will be judged by the difference between White 1 as in this diagram and White 1 at `a'. Dia. 64: Oshi Against White 1, if Black plays oshi with 2, White will take the corner with 3 and this is what White expected when he played 1. Next Black will play hane at 4. In both Dias. 63 and 64, Black has the choice of which sequence he wants to play. Dia. 65: Tobi It is also possible to play oshi with 2 against the keima of White 1. If White plays the tobi of 3, Black will play hasami-tsuke at 4 and the sequence in this area will come to a temporary end. What will be the result if White plays at `a' against Black 2? This is not easy to answer and the reader should study this problem on 150

his own. Dia. 66: An idle move If White plays the nobi of 2 it will be good for Black to play 3 and because of this White 2 is an idle move. Dia. 67: Outer oshi There's another way for White to play and that is with the oshi at 1. Against this move, Black is advised to respond with 2, 4 and 6 and these plays are sabaki. Black finally expands at 8 and the result can never be bad for him. Dia. 68: Nobi Against the oshi of White 1, Black can play nobi at 2 and 4. After Black 4, White 5 is absolutely necessary. The difference between this diagram and Dia. 67 is that Black has sente and in case Black chooses this sequence he should have a good point in mind at which to use this sente. Dia. 69: A strong play Against the oshi of White 3, Black can omit playing the nobi at `a' and instead play 4. This is very aggressive and White must consider the result before playing in this way. Dia. 70: Degiri Next, White will play kosumi at 1 and then degiri with 3 and 5 and this is a formula. White 7 at san-san is a vital point and now he can easily make a living shape. What will be the outcome? 151

Dia. 71: Semeai After Dia. 70, Black plays 2, 4 and 6 in order to give himself more liberties and then starts a semeai with 8. After Black 12, the fight becomes serious for both. But.... Dia. 72: Seki If White plays hane-tsugi with 1 and 3, the result will become seki after Black 4. If White plays 5, Black will play 6. Now, no matter how White plays, there is no other way than seki. So White has made a wall on the left side while Black has made a wall on the right, and the result in this corner is even. Dia. 73: Ko If Black wants ko, he can simply play 4 and if White plays 5, Black will play, 6 and the result will be ko. This ko is bad for Black, however the choice of ko is up to Black. 152

Dia. 74: The right time In this game, it would be appropriate for Black to give up two stones in the corner and trade with 3 and 5. After White 6, Black can play tsume at 7 so as to attack the two White stones in the upper left. Dia. 75: Fourth response-tsukegiri The tsuke of Black 1 can also be considered. Against this move White must play osae at 2 as there is no other point to effectively play and now the kiri of Black 3 is absolutely necessary. However, this sequence has a shicho relation. Dia. 76: Shicho White 1 and 3 are tesuji and now if Black plays watari with 4, White will cap- ture Black's one stone with shicho and the result will not be good for Black as he can find no good point to play. Dia. 77: Formula After White 3, it is a formula to capture White 1 with Black 4. Against White 5, Black will play ponnuki with 6 and White 7 is natural. After the nobi of 8, Black has in mind the attacking point of `a' and if White uses his move 9 on the lower part of the board, Black will play here. Dia. 78: Miai If White extends to 1, Black will exchange 2 for 3 and now Black will play on the lower part of the board and these points are miai. The point doesn't appear here in this diagram but it will be sangen basami. Dia. 79: Fifth response-tenuki Black can also play tenuki, but the tsuke of White 1 is very severe and so Black must be very cautious when considering playing in this way. 153

Dia. 80: Chase into the center If White had stones in the center of the board, then it would be possible for White to chase Black with 1 and 3. In any event, tenuki is very dangerous, but we can't say never play tenuki because of the profound nature of Go. Fig. 2: (13-17) The tsukegiri of Black 13 and 15 expects the formula in Dia. 77. However, White foils Black's intention and plays hiki at 16. Now an unexpected variation arises as Black plays tsuke at 17 which in this case is tesuji. Dia. 1: Confinement The reason why Black \" is tesuji is that if White plays 1, Black will play 2 and force White to play 3. Now Black can confine White with 4 and 6. White can live by playing hane-tsugi at `a', but a small life is not good for him. 154

Dia. 2: No escape If White tries to escape with 1, Black can force White with 2 and then he can confine White with 4. One might think that White could ignore Black 2 and play his 3 at the point 4, however if White allows Black to capture his two stones, he will be at a complete disadvantage. Dia. 3: Suji There is another way Black can play against White 2. Black plays ate at 3 and then confines White with 5 and 7. Some authorities say this is true tesuji but it can't be decided for certain. Dia. 4: Ponnuki Disliking the sequence in Dia. 3, White can play magari at 4 and then Black will ponnuki at 5 and it's obvious that this result is bad for White since Black's thickness is huge. On the other hand, White's group of stones is not yet safe and Black can further play uchikomi at `a'. This sequence is really beneath discussion. Dia. 5: Comparison Now we must compare diagrams 1 and 3. In the case of Dia. 1, White can ig- nore Black 2 and play nobi at 3. The osae of Black 4 is natural and there is still room for White to live by playing hane at `a'. Dia. 6: Complete capture In the case of Dia. 3, after Black 6, White will play nobi at 7 and then Black can completely capture White with 8 and this is the difference between the two sequences. Although White has lost two stones, his shape in the center is efficient after 7 and so the advantages or disadvantages of the two sequences depend on the circumstances of the game. 155

Dia. 7: Formula Hence, since White can't resist against Black 1, it seems as if he is compelled to play 2 and allow Black to play 3 and 5. Up to now, this sequence has been thought to be a formula and that the result was advantageous for Black. But ideas and opinions in Go are constantly changing and the formula which will now be given in Fig. 3 successfully destroys this notion. Dia. 8: Conclusion It would be better for Black to play kake at 1. White 2 is natural and after that, the sequence will result in a trade up to Black 5. Next, if Black has a chance to play sagari at `a' he will be at a great advantage. 156

Dia. 9: Resistance It's dangerous for White to resist with 2 immediately after Black 1 for Black will play ate at 3. This one White stone is very important and White must never lose it so he will try to escape with 4. But Black presses on with 5.... Dia. 10: A low position If White escapes with 1 and 3, Black will play shibori with 4 and 6 and will then play osae with 8, 10 and 12 forcing White to crawl to 11 with a low position, and this is very bad for White. Fig. 3: (18-22) Up to now, a way more severe than 18 and 22 has never been seen. Of course Sakata is familiar with these variations, but these remarks are directed to amateurs. As we have seen, it's no good for White to play the \"formula\" we just studied so we must consider another way and if White 18 and 22 are good, they may be played. But it seems as if all formulas are being upset nowadays. Reference Figure In this situation, it has long been thought that the tsuke of Black 1 is a good move leading to a favorable result for Black. However the appropriate counter- measure to this move is the sequence up to White 6. In this battle, the point `a' be- comes the focus with both players aiming at this point. The idea of Black playing ate at `b' should not even be considered. Dia. 1: Niken basami Against the niken basami of White 1, Black 2 is not very often played. Dia. 2: Resistance If White plays hane at 3, White 4 will follow and then after the tsugi at 5 Black will play at either 6 or `a'. 157

Dia. 3: A set idea To White's resistance at 1, Black has only to cut at 2 and if White plays, 3 then the tsuke of Black 4 is considered favorable for White and this sequence reduces to the game we are studying. Dia. 4: Vital point proves unfavorable Instead of White 22 in Fig. 4, White might play nobi at 1, since this point is considered to be vital by both sides. However, the sequence up to Black 4 is by no means favorable for White as the area secured by Black is too large. Dia. 5: Tsugi White's simple tsugi at 1 is also conceivable. Black will of course resist with 2. Now White plays 3 and 5 and then Black will play 6 and 8 which will be a bit irritating to White. However, White must be patient and play at 9 and later on look for a chance to play at `a'. Dia. 6: A later problem White 1 is a big yose point, but needless to say this is a problem for later. Faced with this move, Black's only response is at 2 and then White's hane at 3 will be sente. Black must play 4 because.... 158

Dia. 7: Ko Against Black 1, White 2 is a good move and if Black plays 3, White may play tsugi at 4. Now after the ate of Black 5, White plays 6 and after Black 7 White 8 results in ko. Dia. 8: Tesuji The ate of White 1 is tesuji and if Black plays 2, White plays 3 capturing Black by means of utegaeshi. Therefore, Black has no choice but to play the ko of Dia. 7. Dia. 9: Shibori After White 1, if Black captures one stone with 2, White 3 makes an ideal shi- bori. After Black's connection at 4, White 5 will endanger Black's entire group of stones and even if Black plays 6, White may play 7 without any fear. However, Black can now aim at `a', availing himself of White's damezumari and so White must be careful. Dia. 10: Loss of aji After White 1, White should not respond to Black 2 with the osae of 3 since when Black plays 4, the aji of the last three diagrams is lost. To make things worse, after the ate of `a', the kiri at `b' is left and so White is left with bad aji in this area. Dia. 11: Nobi The simple nobi of White 1 is certainly possible, but White will be captured with the sequence up to 12. After White plays at `a', he may feel proud of his large prospective area in the center, but Black's area in the lower corner is not so small. Fig. 4: (23-25) A psychological battle seems to be taking place here. Black plays 23 and 25 so as to stress the possible kiri at `a'. Now instead of the point of 23, the point `a' seems to become the focal point as it would be unthinkable to play ate from above, allowing White to play tsugi at `a'. 159

Dia. 1: The worst variation If Black plays ate at 1 and 3, White will play nobi at 4 and this will be bad for Black because White will gain a large area in the corner. Furthermore, the two White stones can escape by playing at `a' and so this is the worst variation. Dia. 2: Can't escape After Black 25 in Fig. 4, it is, of course, impossible for White to escape with 1 because of the kikashi of Black 2 and now White must play tsugi at 3 and Black captures 3 stones with 4. Dia. 3: Future plan Against the kikashi of Black 1 and the settling of the corner by 3 and 5, White should capture at 6. Now after Black 7 and 9, White plays kikashi with 10 and then tobi at 12 and this is the most that White can expect. But this sequence is un- satisfactory for Black as White can save two stones by playing at `a'. 160

Dia. 4: Outside thickness Instead of White 4 in Dia. 3, White could play nobi at 4 in this diagram giving Black territory in the corner. Now, when White plays osae at 6 he will get outside thickness. There is a sente difference between Dias. 3 and 4. In Dia. 3, White has sente after Black 11 whereas in this diagram Black has sente. However, Black's profit is not so large and so this sequence is not so good for Black. Dia. 5: Unreasonable White can't play the nobi of 2 immediately after the ate of Black I. If he does so, Black will play shibori with 3, 5 and 7. Dia. 6: Capturing Against Black 1, it is possible for White to capture with 2. Now if Black plays 3, White will play kikashi with 4 and then defend the left side with 6. This method is dubious. However in the next figure, White has avoided this sequence. Fig. 5: (26-30) White defends his defect at 26 and waits to see how Black will play. White 26 is a playable tesuji. But Black plays contrary to White's will with 27 and 29 and so White plays 30. Hence this conflict of will leads directly to the middle stage of the game. Dia. 1: White ' becomes a wasted move Black can't expect the sequence to Black 5 as then White ' would become a wasted move and this result would be good for Black. Instead of capturing two stones with 2 and 4, against Black 1, White would play as in the next diagram. 161

Dia. 2: Thickness Against Black 1, White would play 2 and Black must capture one stone with 3. But now, after the ate of White 4, White becomes thick in the center and this thickness is better than Black's corner territory. Dia. 3: Discretion It probably would have been better for Black to have played at the point 1 in- stead of 27 in Fig. 5. After the kikashi of White 2, the nobi of White 4 appears to be very large and it is White's intention to play this move. Black played the se- quence in Fig. 6 so as to counteract this intention. However, as the sequence eventually turned out, the variation in Fig. 5 was not so good for Black. After the sequence in this diagram, Black can play the uchikomi of `a'. However, when actually playing a game, moves like White 4 seem to be very large and the ten- dency when actually playing is to exaggerate the scale of its importance. But it is difficult to think in any other way. Dia. 4: Tewari This tewari diagram corresponds to Dia. 3. Attention must be paid to the fact that Black has one less stone than White, so Black can now play a stone wherever he wants. Also White's condition in Dia. 3, because of the situation in the corner, is settled. But Black is also settled and in this case it is more advantageous for Black to be settled than it is for White. Further, the sente of Black can't be ignored and the uchikomi at `a' is powerful move. To understand this tewari diagram more 162

fully, let's add on the missing stones and try to find out which are unnecessary. Dia. 5: Exchange The exchange of 1 and 3 with 2 and 4 is bad for White since it is done near the center and it is really unbearable for White to play in this way. Dia. 6: Black's exchange Now Black in his turn exchanges Black 1, 3 and 5 with White 2, 4 and 6 and this is also bad for Black. So both players have had a bad exchange and the result has been evaluated in the tewari diagram. Fig. 6: (31-36) The battle rapidly continues with the sequence up to Black 35. Of course Black could play at `a' instead of 35, but White 36 is absolutely necessary. The situation is very complex and one slight misstep will be fatal. Even though we are still playing joseki, this battle has taken on the appearance of a middle game fight. 163

Dia. 1: A four stone capture If instead of 36 in Fig. 6, White plays magari with 1 as in this diagram, Black will capture four White stones by the cut at 2 and the kosumi of 4 and now Black's profit will be enormous. When White plays at `a' instead of 1, Black has no time to play 2 and 4 because White can play ate at `b'. Dia. 2: The other cut Against the cut of Black 1, White 2 is again the only possible play. After Black plays nobi at 3, White plays ate at 4 but now there is the tesuji of Black's counter cut at 5. Dia. 3: Good for Black Against White 1, Black will play nobi at 2. After the sequence to Black 22 the result is good for Black as White's position is too low. But Black can't expect this sequence. 164

Dia. 4: Difficult White can also play by capturing with 2 against Black 1 and the tsugis of 4 and 8 are natural. After Black 9, White must defend with 10 and another battle will result after the uchikomi of 11. It would also be possible for White to play at `a' instead of 12 but this is a very difficult decision and the result is impossible to predict accurately. Dia. 5: Sacrifice It's also possible for White to make a sacrifice with 3 and 5 but it is very diffi- cult to decide whether or not it is necessary to defend by playing the ate at 7. In any case, White's plan is directed to the center aiming to play kake at `a' or tobi at `b'. There are many variations and it's impossible to discuss them all so we will stop here and go on with the game. Fig. 7: (37-43) For White to play sagari at 39 instead of capturing with 38 doesn't pay, as White will be forced by Black at 43. Since Black had no chance to cut at 42. he played ate with 41 and if he doesn't play this move, he will be at a loss. Dia. 1: Complicated Disliking the shibori in Fig. 7, White plays sagari at 1 but then he will be forced by Black 2 and since it's unbearable to simply play nuki with `a', White will capture three stones of Black with 3 and 5. Now Black grabs his chance to cut with 6 and after the sequence to Black 12, Black captures four White stones and the result is not so good for White. Besides gaining a profit, Black has eliminated the bad taste in the center and even though it's complicated it's bad for White. 165

Fig. 8: (44-51) The reason why White settled the form in the corner with the sequence up to Black 51 becomes obvious later on. One reason is that if the battle later on be- comes difficult, White may lose these kikashis. In any case, White still loses four ko threats. Dia. 1: Ko For the benefit of the amateur, if against the hane of White 1, if Black absentm- indedly plays at 2, it will result in an unfavorable ko for Black after White takes the vital point of 3. Dia. 2: White 1 in this diagram would be unsuccessful since he would have no chance after Black 2 and White can now easily be captured. Fig. 9: Middle game (52-57) If White played 54 at the point of 56, Black could play ate at 54 and this would be unbearable for White. Black 55 is katachi and after White 56, Black 57 will result in a severe middle game battle. 166

CHAPTER 7: A Large Scale Fuseki Fig. 1: (1-4) The last game we will study _+++++++++++++++++| [{{{{{{{{{{{{{{{{{] in this volume is from the second [{{@{{{{{{{{{{{{1{] Ju-dan Sen and was played [{{}{{{{{}{{{{{}{{] between Sakata (White) and [{{{{{{{{{{{{{{{{{] Fujisawa Hosai, 9-dan (Black). [{{{{{{{{{{{{{{{{{] This fuseki was very strange [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] because of the two san-sans at 1 [{{{{{{{{{{{{{{{{{] and 4. At the time this game was [{{}{{{{{}{{{{{}{{] played (1963), fuseki involving [{{{{{{{{{{{{{{{{{] san-san was very much in vogue. [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{}3{] [{${{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] -=================\\ Fig. 1 (1-4) _+++++++++++++++++| [{{{{{{{{{{{{{{{{{] Fig. 2: (5-7) [{{~{{{{{{{{{{{{`{] [{{}{{{{{}{{{{{}{{] Instead of a shimari at 5, a [{{^{{{{{{{{{{{{{{] kakari in the upper left corner is [{{{{{{{{{{{{{{{{{] also playable but to defend [{{{{{{{{{{{{{{{{{] oneself first with 5 is a steady [{{{{{{{{{{{{{{{{{] attitude on the part of Black. [{{{{{{{{{{{{{{{{{] White 6 is an almost natural [{{}{{{{{}{{{{{}7{] shimari and the defense at Black [{{{{{{{{{{{{{{{{{] 7 is a good point because of the [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] developing direction of the Black [{{{{{{{{{{{{{{{{{] shimari in the lower right corner. [{{{{{{{{{{{{{{{{{] Together with the san-san in the [{{{{{{{{{{{{{{}`{] upper corner Black has a very [{~{{{{{{{{{{{5{{{] well organized structure. [{{{{{{{{{{{{{{{{{] -=================\\ Fig. 1 (5-7) 167

Dia. 1: Wrong direction With the shimari of Black \"'s, the extension of Black 1 isn't a good point. The shape of this shimari develops in the direction of `a' and the structure in this diagram is a flat one and.... Dia. 2: Full dimensional development The extension in Dia. 1 can't expect the full dimensional development of this diagram with the moves of 1 and 3. The examination of these diagrams is done at the starting point of the fuseki and they show why Black has chosen the komoku of \". Dia. 3: Small scale Go It is conceivable for White to play the wariuchi of 1 which is a good point for Black to also play. However, White must be prepared for the kakari of Black 2. The sequence after White 3 is a common joseki. The tsume of 8 is probably from the right direction and the sequence up to 11 completes one phase of the fuseki. These moves are quite common and nothing unusual has occurred. However, there is one thing to be noticed and that is that both White and Black are scattered throughout the board and this is called \"ko aji\" or \"small scale Go\". +++++++| +++++++| _+++++++++++++++++| {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{{{] {{{{{`{] {{{{{`{] [6{~{{{{{&{{{{0{`{] {{{{}{{] {{{{}{{] [{{}{%{{{}{{{{{}{{] {{{{{{{] {{{{{{{] [{2{{{{{{{{{{{{{({] {{{{{{{] {{{{{{{] [{{4{{{{{{{{{{{{{{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{Q{{] {{{{{{{] {{{{{{{] [{{#{{{{{{{{{{{{{{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{{{] {{{{}1{] {{{3}1{] [{{}{{{{{}{{{{{}!{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{{{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{8{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{{{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{{{] {{{{{'{] {{{{{{{] [{{{{{{{{{{{{{{{{{] {{{{}{{] {{{{}'{] [{{}{{{{{}{{{{{}`{] {{{{'{{] {{{`{{{] [{`{{{{{{{{{{{`{{{] {{{{{{{] {{{{{{{] [{{{{{{{{{{{{{{{{{] =======\\ =======\\ -=================\\ Dia. 1 Dia. 2 Dia. 3 Dia. 4: Wariuchi If White wants to play wariuchi, the correct point to play is at `a' and not White 1 as in this diagram. If White plays 1 as here, Black 2 becomes a very good move because Black \" on san-san is a very solid stone. Not only is Black 2 a good attack it is also a good extension from Black \" and the reader should think about this. Dia. 5: Black weaknesses However, if Black has a stone on hoshi instead of Black \" in Dia. 4, White 1 is a very good point. The reason is that even if Black plays 2, there are a lot of weak points in the upper right corner and White will have no difficulty in making 168

these stones work inefficiently. The differences between diagrams 4 and 5 should be compared. Fig. 3: (8-10) White 8 is the right direction to play with respect to the upper left corner. The reason he plays 8 before 10 is that he expects Black to play 9 after 8. White is very happy now to have a double wing formation but Black must not interfere with this by playing at 10 with move 9. Dia. 1: Black's weakness After White ', if Black plays 1 so as to interfere with White's double wing formation, this will be the right time for White to play 2 at the shoulder of the stone at san-san and in this type of structure this is always the weak point. The sequence from 3 to 6 is joseki but now Black's overall position is too low. Besides which, Black 1 which was played with a definite purpose, now becomes meaningless and this is why Black should not play 1. 169

Dia. 2: Also not good Black 2 in the other direction isn't any good either. The joseki up to White 5 has gone in the other direction but Black's position is still depressed and Black \" is still as meaningless as in Dia. 1. In short, even if White plays at ' first on the left side, he knows that it won't help Black to play Black \". Black 9 in Fig. 3 reveals this kind of thinking. After this, if White doesn't occupy the point 10, Black will then rush to take this point. Fig. 4: (11-19) Black 11 is the turning point of this fuseki stage. There are many alternatives at this point. The sequence up to Black 17 is played with resolve on the part of Black, in that he has given White profit up to White 18 and after 19 he awaits White's attack. Dia. 1: The shape of the battle field The reason Black 11 is called the turning point in the discussion of Fig. 4 is that one of the alternatives is Black 1 in this diagram. Black's shape with 1 looks a bit over-concentrated but it is still a strong shape. Although this can't be considered as Black's area as of yet, it will be difficult for White to find a good invasion point. This way of playing reveals an attitude of \"getting what can be gotten and then waiting to see how the game will develop“. Suppose that White now plays 2 Black will then answer with the katatsuki of 3 which is now White's weakness so White will not be willing to play 2. Dia. 2: A magnificent sphere of influence In order to make an extension on the lower side, White must first play 2, but then Black will lose no time in playing 3. Now the magnificent framework of Black territory on the right side will be a great problem for White. The sequence up to 3 certainly makes a fine fuseki for Black, however it can't necessarily be said to be superior to that of figure 4. What is preferable remains a matter of individual taste. 170

_+++++++++++++++++| _+++++++++++++++++| [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{~{{{{{~{{{{{{`{] [{{~{{{{{{{{{{{{`{] [{{}{{{{{}{{{{`}{{] [{{}{{{{{}{{{{`}{{] [{{~{{{{{{{{{{{{{{] [{{~{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{~}{{{{{}{{{{1}`{] [{~}{{{{{}{{{{1}`{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{3{{{{{}{{{{{}`{] [{{}@{{{{}{{{{{}`{] [{~{{{{{{@{{{{`{{{] [{~{{{{{3{{{{{`{{{] [-={={={{=D={i{=a.1{={={={=={={={={={{={=\\] -[={{=={D={ia={.2{=={={={={={={{=={={{=={\\] Dia. 3: Undecided Black may also start with the 1 in this diagram and then in exchange for White 2, plays 3. In any case, Black's maneuvers are based on the idea of building up a gigantic sphere of influence. The reason Black avoids playing close to White in this diagram is to prevent him from consolidating his territory. On the other hand, Black 1 and 3 are also loose, so it is difficult to decide whether to play as in Fig. 4 or as in this diagram. Dia. 4: Invasion So, having progressed to this point it's about time White thinks about an invas- ion. Considering the depth of the Black configuration White must choose his move very carefully so as to prevent Black from making a huge profit. White 1, which is often seen, isn't too good here. Other plays which are conceivable are `a', `b' and `c'. At this point, this study involves the middle game, so it will be omitted here. _+++++++++++++++++| _+++++++++++++++++| [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{~{{{{{~{{{{{{`{] [{{~{{{{{{{{{{{{`{] [{{}{{{{{}{{{{`}{{] [{{}{{{{{}{{{{`}{{] [{{~{{{{{{{{{{{{{{] [{{~{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{~}{{{{{}{{{{{}`{] [{~}{{{{{}{{{{{}`{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{~{{{{{{{{{{{{{{] [{{@{{{{{{{{{{{{{{] [{{~`{{{{{{{{{{{{{] [{{{{{{{{{{{{{{{{{] [{{~`{{{{{{{{{Ó{Ý{] [{{}{1{{{3{{{{{}`{] [{{}`{{{{`{{{ß{}`!] [{~{{{{{{{{{{{`{{{] [{~`{{{{{{{{{{`{{{] -[{={=={{={=D{=ia={.3{={=={{={=={={={={{=]\\ [-={~=={={{={=D{=ia={.4 ={{=={={{={={={=={]\\ 171

Definitions of Japanese Go Terms aji — after-taste; a stone (or stones) has aji, if, though already lost it continues to be a source of annoyance. amari-gatachi — loose but resilient shape. ate — check. i.e. to threaten an enemy's stones with capture. e.g. Dia.15 p. 16 atsumi — thickness. bane — see hane. basami — see hasami biraki — see hiraki bootsugi — a three stone wall chuban — the middle stage of the game. dame — a common point between any Black and White positions which has no territorial value, thus making no difference who fills it. dame-zumari — losing liberties by filling up dames and hence making one's own stones more vulnerable to capture. dango — a formless and solid shape (literally: a `dumpling' shape) de — to push between two enemy stones de-giri — to push between two enemy stones and then cut e.g. Dia. 22 p. 17 fuseki — the opening stage of the game gakari — see kakari geta — a tactic used for capture, made by jumping ahead of the stone(s) giri — see kiri gote — to play second or to make the last move in a local encounter, the opposite of sente. bamete — a play which may be unsound but involves a trick bane — a diagonal move played next to the enemy's stone e.g. Dia.17 p. 16 hane-kaeshi — a counter hane e.g. Dia. 3 p. 12 hane-komi — a hane between two enemy stones e.g. Dia.26 p, 18 hane-dashi — an outer hane e.g. Dia.20 p. 49 basami — a pincer attack e.g. : ikken basami — one point pincer attack Fig. 1 p.110 ikken takabasami — a one point high pincer attack Fig. 1 p.137 niken basami — two point pincer attack Dia. 1 p. 157 niken takabasami — two point high pincer attack Ref. Fig. p. 13 sangen basami — a three point pincer attack Dia. 1 p. 7 hikuri-kaeshi — a sequence which reverses itself hazama — two stones on a diagonal separated by one point e.g. Dia. 18 p. 17 hazama-tobi — a one point diagonal jump e.g. Dia. 12 p. 16 hiki — to draw back e.g. Dia. 1 p. 81 172

hiraki — an extension e.g. Dia. 8 p. 10 Honinbo Sen — the second most important annual Go title match in Japan hoshi — any of the nine points on the board marked by a dot ikken — a one point interval jingasa — a foolish shape consisting four stones in a solid pyramid joseki — an opening formula usually restricted to the corner Judan Sen — the \"10th. dan\" series, one of the top three yearly title matches in Japan. kado — angular kakari — attack on a single corner stone e.g. : ikken takagakari — a one point high attack Dia. 3 p. 8 kogeima kakari — a small knight's attack Dia. 1 p. 7 ogeima kakari — a large knight's attack Dia. 2 p. 8 kake — an attacking move played diagonally above the enemy's stones. e.g. Dia.22 p. 17 kaketsugi — a diagonal connection e.g. Dia. 4 p. 12 kata — a shoulder move katatsugi — a shoulder connection e.g. Dia.34 p. 20 katatsuki — a shoulder attack e.g. Dia. 20 p. 49 keima — knight shape e.g. Dia. 1 p. 22: keshi — a move played to diminish the enemy's area e.g. Dia. 6 p. 9 kikashi — a forcing move which must be answered kiri — cut e.g. Dia. 5 p. 12. kiri nobi — to cut and extend e.g. Dia. 5 p. 27 ko — a repetitive situation, where Black and White have one stone in ate al- ternately, and in which following a capture by one player the opponent is not permitted to recapture until he has made a move elsewhere on the board ko-aji — small scale Go kogeima — the small knight shape e.g. Dia. 1 p. 7 komi — a point handicap which Black gives to White to compensate him for having: moved second komoku — a three-four point on the board kosumi — a diagonal extension e.g. Dia. 7 p. l0' kosumi-tsuke — a diagonal-touching move e.g. Dia. 4 p. 8 magari — a hooking move e.g. Dia. 4 p. 23 Meijin Sen — an annual championship, the most important in the Go world miai — points points which if one is played by one player the other is taken by his. opponent and vice-versa modori — to fall back e.g. Dia.67 p. 77• mokuhadzushi — a three-five point, at a diagonal from hoshi 173

moyo — large prospective territory mukai komoku — opposing komoku e.g. Ref. Fig. p. 7 nadare — literally-landslide. The name of a joseki discussed in Chapter 3. nidan-bane — a double hane e.g. Dia. 22 p. 143 niken — a two point interval nobi — to extend one stone along a line e.g. Dia. 6 p. 14 nozoki — a peeping move e.g. Dia. 4 p. 12 nuki — a capture pintsugi — to connect two stones along a line e.g. Dia. 34 p. 51 ponnuki — a four stone eye-shaped formation e.g. Dia.2s p. 50 ogeima — a large knight's move e.g. Dia. 10 p. 24 osae — a blocking move e.g. Dia. 8 p. 15 oshi — to press e.g. Dia. 1 p. 26 sabaki — a sequence of moves leaving one with a light resilient shape sagari — descending move, the player plays straight down towards the edge of the board e.g. Dia. 5 p. 12 sangen — a three point interval san-san — the three-three point directly under hoshi seki — a life and death battle which can't be won by a either side and so remains on the board stalemated. semeai — a race to capture sente — to have the first move or to leave an encounter having the next move first shibori — a tactic by which a player forces his opponent to capture some sacrifice stone and thereby gains some advantage. e.g. Dia. 17 p. 17 shicho — a capturing chase shaped like a ladder which ends with the capture of the pursued stones shicho-atari — a shicho break shimari — a corner enclosure consisting two stones e.g. : ikken shimari — one point enclosure Ref. Fig. p. 7 kogeima shimari — small knight's enclosure Ref. Fig. p. 7 shita hane — a hane underneath e.g. Fig. 5 p. 57 soto — outer or outward stuart dowsey — see p. 174 suberi — a sliding move, that slips under the opponent's stones e.g. Dia. 10 p. 24 suji — see tesuji tachi — to stand up e.g. Dia. 4 p. 8 taisha — a joseki in Chapter 3, characterized by an ogeima cover taka — high tenuki — to play in another part of the board ignoring one's opponent's last move tesuji — a clever move tewari — diagram an analysis diagram in which excess stones are removed and 174

the basic structure analyzed. tobi — a jump or jumping move e.g. : ikken tobi — a one point jump Dia. 1 p.111 niken tobi — a two point jump Dia. 8 p. 13 tobi-komi — a jump into the enemy's formation e.g. Dia. 13 p. 16 tsugi — to connect e.g. Dia. 21 p. 17 tsuke — to attach e.g. Dia. 8 p. 13 tsuke-koshi — to attach at the waist of a knight formation e.g. Dia. 10 p.107 tsuke kaeshi — a counter-tsuke tsuki atari — to hit against an enemy's stone e.g. Dia. 13 p. 24 tsume — to extend and block or prevent the opponent from extending e.g. Dia. 3 p. 62 uchi — inside uchikomi — an invasion e.g. Dia. 1 p. 14 uchi magari — an inward magari e.g. Dia. 18 p.101 utegaishi — a snap-back tactic e.g. Dia. 8 p. l59 wariuchi — a wedging move e.g. Dia. 8 p. 10 watari — to connect underneath, literally `to bridge' e.g. Dia.11 p. 16 yose — the end or closing stage of the game 175

176